Komitas, Réverend Père Soghomon. (1869–1935).. Danses. Recueillies et mises en musique par le R. P. Komitas. - INSCRIBED TO EGON WELLESZ. Paris: Senart. 1925. "Musique Populaire Arménienne. Nouvelle Série. Cahier I." Upright folio. Piano solo. Original wrappers laid down to modern boards. Inscribed and signed on the titlepage ""au Grand Musicien, au Grand Armeniste Monsieur Egon Wellesz, le Comité des amis du R. p. Komitas... Juillet 1928. " Paper toned, else fine. Sold together with similar format edition ("Musique Populaire Arménienne. Nouvelle Série. Cahier III"), "Les braves de Sipan. Chœur héroïque (à capella)" (Paris: Senart, 1928), No. 7613, Armenian Title; introduction; lyrics, 8 pp. choral score.
Inscribed to Egon Wellesz, the Austrian composer and musicologist, a member of Schoenberg's Verein für Musikalische Privataufführungen after World War 1 and the author of the the first Schoenberg biography (Vienna, 1921).
A rare original publication from the priest, composer, music ethnologist whom many consider as the founder of modern Armenian classical music. Early in his life began an enormous project of collecting and preserving the native folk music of his country. His own musical style, admire by the likes of Debussy, is nearly minimalist and in some senses perfectly matched to the haunting folk songs he collected. He lost his mind after witnessing the 1915 Armenian Genocide and is considered a martyr of the genocide.
Inscribed to Egon Wellesz, the Austrian composer and musicologist, a member of Schoenberg's Verein für Musikalische Privataufführungen after World War 1 and the author of the the first Schoenberg biography (Vienna, 1921).
A rare original publication from the priest, composer, music ethnologist whom many consider as the founder of modern Armenian classical music. Early in his life began an enormous project of collecting and preserving the native folk music of his country. His own musical style, admire by the likes of Debussy, is nearly minimalist and in some senses perfectly matched to the haunting folk songs he collected. He lost his mind after witnessing the 1915 Armenian Genocide and is considered a martyr of the genocide.
Komitas, Réverend Père Soghomon. (1869–1935).. Danses. Recueillies et mises en musique par le R. P. Komitas. - INSCRIBED TO EGON WELLESZ. Paris: Senart. 1925. "Musique Populaire Arménienne. Nouvelle Série. Cahier I." Upright folio. Piano solo. Original wrappers laid down to modern boards. Inscribed and signed on the titlepage ""au Grand Musicien, au Grand Armeniste Monsieur Egon Wellesz, le Comité des amis du R. p. Komitas... Juillet 1928. " Paper toned, else fine. Sold together with similar format edition ("Musique Populaire Arménienne. Nouvelle Série. Cahier III"), "Les braves de Sipan. Chœur héroïque (à capella)" (Paris: Senart, 1928), No. 7613, Armenian Title; introduction; lyrics, 8 pp. choral score.
Inscribed to Egon Wellesz, the Austrian composer and musicologist, a member of Schoenberg's Verein für Musikalische Privataufführungen after World War 1 and the author of the the first Schoenberg biography (Vienna, 1921).
A rare original publication from the priest, composer, music ethnologist whom many consider as the founder of modern Armenian classical music. Early in his life began an enormous project of collecting and preserving the native folk music of his country. His own musical style, admire by the likes of Debussy, is nearly minimalist and in some senses perfectly matched to the haunting folk songs he collected. He lost his mind after witnessing the 1915 Armenian Genocide and is considered a martyr of the genocide.
Inscribed to Egon Wellesz, the Austrian composer and musicologist, a member of Schoenberg's Verein für Musikalische Privataufführungen after World War 1 and the author of the the first Schoenberg biography (Vienna, 1921).
A rare original publication from the priest, composer, music ethnologist whom many consider as the founder of modern Armenian classical music. Early in his life began an enormous project of collecting and preserving the native folk music of his country. His own musical style, admire by the likes of Debussy, is nearly minimalist and in some senses perfectly matched to the haunting folk songs he collected. He lost his mind after witnessing the 1915 Armenian Genocide and is considered a martyr of the genocide.